When the founder of the Urasenke tradition of tea ceremony, Senso Soshitsu (1622 - 1697) was invited to Kanazawa as the lord of the tea ceremony for the Kaga Clan in 1666, the first Chozaemon came with him and established Ohiyaki Ware in Kanazawa. At that time, Senso Soshitsu was 45 years old and Chozaemon was 37. Chozaemon had been the chief apprentice for the Raku family in Kyoto and took with him to Kanazawa many of the principles and ideas associated with Rakuyaki Ware. He made tea utensils taking the advice of Senso and began producing wares using the local clay at Ohi Village. The name Ohiyaki originated from the name of this village and was located just outside of Kanazawa. The Ohi Amber Glaze, which is a trademark of the work, was presented to Chozaemon from the Raku family to use exclusively for this new style of ware. Since then, forming tea utensils by hand, the Amber Glaze and use of the local Ohi Clay have been handed down to us as a tradition of Ohiyaki ware. The first Chozaemon was greatly challenged to create tea utensils in a new style. Through his work, we can feel his pioneering spirit. The spiral design, which he established and incorporated into his work, was one of the elements that other generations returned to and used in their works. The first Chozaemon continued throughout his life to make tea utensils with new original styles and ideas. This spirit of always challenging oneself to create contemporary wares, while remaining firmly grounded by tradition, is an idea that the first Chozaemon deeply understood, and this became the backbone of all generations of Ohi Ware to follow, including the present day.

The Second Chozaemon was the son of the First Chozaemon. Probably as he was growing up, he was surrounded by the constant interaction between the First Chozaemon and Senso. It is only natural that he followed in his father’s footsteps and continued with the tradition of making Ohiyaki Ware. Because the Second Chozeamon did not sign his work and with only a few signed boxes still in existence, it is difficult to ascertain an accurate account of his true artistic history. Another point that makes it difficult to historically understand exactly what utensils he made, is their striking resemblance to the first Chozaemon’s works. It is felt that he followed in his father’s footsteps not creating his own artistic style, but through continuing his father’s style and mimicking the designs that had already been produced.

The Third Ohi Chozaemon was the son of the Second Ohi Chozaemon. Both he and his father made tea utensils that were strongly influenced by the First Chozaemon's works. However, unlike his father, the Third Ohi Chozaemon signed his works. He used his father's stamp and interestingly signed his works as the Second Ohi Chozaemon. Although his work was influenced by his grandfather’s style, he expanded his talents by using various designs and employing more technical skills. His specialty was making tea bowls where he incorporated his own spiral design and tube-like styling. He used both a thin and much thicker amber glaze. His water containers display abstract line designs that express a certain calmness and understanding of tea ceremony wares. The Third Chozaemon also introduced the river shrimp motif, which was inspired by the nearby river in proximity to Senso's style.

It has been recorded that like the First Ohi Chozaemon, the Fourth Chozaemon was also extremely talented and respected as a clay artist. The original spirit of Ohi ware is present throughout the Fourth Chozaemon's works. He was very technically skilled and produced delicate and intricate works paying close attention to each piece’s form and function. He not only used the traditonal Ohi Amber Glaze, but also experimented with various colors of glaze mimicking the First Chozaemon's desire to push the limits of tea ceremony wares. As a deviation from the previous generations, the Fourth also made some tea bowls using the Ohi Black Glaze. In 1882 several of his tea bowls were presented to the 12th Shogun Maeda Narinaga in exchange for an abundance of monetary awards. This relationship between the Fourth Ohi Chozaemon and the 12th Shogun Maeda Narinaga, combined with his extraordinary talents, earned him the tea master's title "Doan," which from 1824 he was then named and referred to.

During this period of time in history, Kyoto was overwhelmed with political burdens while Kanazawa was flourishing in the arts. The Fifth Ohi Chozaemon was fortunate in this respect and because of the afforded artistic freedom of his day, he produced many original works branching off from the traditional works that were produced by previous generations. He also was very skilled and talented like his father, and even though some of his works were considered quite extreme, he believed thoroughly in producing all kinds of pottery. He made not only tea ceremony wares, but also everyday functional wares such as plates and bowls. The Fifth Chozaemon introduced the crane design that he incorporated into his black tea bowls. It is believed there was a partnership between the 11th Urasenke Grand Tea Master Gengensai (1810 - 1877) and Fifth Chozaemon, since many of his works are accompanied by boxes signed by Gengensai. He also took sand from the Grand Tea Master’s garden and fired tea bowls with the sand. The Grand Tea Master Gengensai also asked the Fifth Ohi Chozaemon to duplicate the turtle-design incense burner made by the First Ohi Chozaemon. This event was recorded by a registered document. The Fifth Ohi Chozaemon's original name was "Kanbei", but most works refer to him as the Fifth Ohi Chozaemon. There are many old books documenting the Fifth Chozaemon’s work but some recorded information, such as his actual birthdate, remain unclear.

The Sixth Ohi Chozaemon was the son of the Fifth and like his father, he produced not only tea utensils but everyday functional wares as well. His relationship with the Shogun Maeda in Kaga allowed him to prosper monetarily creating many tea utensils using both the Ohi Amber and Black Glazes. He made some works similar to those made by Kenzan, a famous clay artist from the Edo period, and utilized several glaze colors particularly celadon blues from Korea. His original name was Sakutaro and, although he died at the young age of 28, only four months after his father passed away, his original works have been preserved.

六代長左衛門作大樋黒釉筒茶碗9,0&times;8,8cmHmade by Ohi Chozaemon Ⅵ

The Seventh Ohi Chozaemon’s original name was Michitada. He was the brother of the Sixth Chozaemon. Both the Sixth and Fifth Chozaemon passed away in 1856. At the beginning of the Meiji era, Japanese politics began to change dramatically. The Maeda family could not unify the Kaga area. Because of this, the Seventh Ohi Chozaemon was forced to live in poverty. Despite losing the support of the Kaga clans and receiving very few orders for pieces, he continued to produce his own original wares gaining approval from such dignitaries as the 12th Urasenke Grand Tea Master Yumyosai (1852 - 1917) and the 13th Urasenke Grand Tea Master Ennosai (1872 - 1929), who signed his boxes. To the 12th generation Lord Maeda’s wife and daughter of Tokugawa Ienari (1787 - 1837) (wife of 13th generation Lord Maeda), Shin Ryuin and Keitokuin, he presented tea bowls representing his dedication to preserving the tea tradition and his pride in the making of Ohi Ware.

The Japanese economy at this time, along with the introduction of Western art and ideas, affected tea ceremony traditions greatly. The Seventh Ohi Chozaemon’s son made the decision not to follow his father’s path, since the Kaga Clan had cut off support and the family was forced to live in poverty. It would have been a lifelong struggle to keep the Ohi tradition alive and continue making tea utensils that were not profitable or highly appreciated. This way of life did not appeal to the Seventh Chozaemon’s son, thus leaving the position to be filled. Rikichi Nara was the Seventh Ohi Chozaemon’s chief apprentice. He had a thorough knowledge of Ohi work, methods, tradition and history. He became the Eighth Ohi Chozaemon. He was also a tea master. He was given the tea master names of Soshun and Yuigensai. Although the economy remained financially unstable, the Eighth Chozaemon managed to form a relationship with the 486th Shoun Roshi of the temple Daitokuji, which enabled him to produce new works and continue making Ohi ware throughout his entire life. He also received the honor of having many of his boxes signed by Urasenke Grand Tea Master Ennosai (1872 - 1924).

The Ninth Chozaemon was the son of the Eighth Chozaemon and he continued to produce tea utensils from age sixteen until his death at age eighty-six. At age 26 he received the title of Ninth Ohi Chozaemon following after his father. In the early 1900s, there was little awareness of and appreciation for the tea ceremony and the utensils that accompanied this art form; however, later in the century the cultural preservation of this tradition and renewed interest allowed the artists and makers of tea wares to prosper. The Ninth Ohi Chozaemon’s drive to remain contemporary while still preserving the Ohi tradition led him to display many of his works in public exhibitions, including the Japan Traditional Arts and Crafts in Contemporary Society. His works not only reflect the influence of generations preceding him, but also that of the rapidly changing contemporary environment. In 1970 he received the gold award of tea and culture from the 14th Urasenke Grand Tea Master, Tantansai (1893 - 1964). In 1978 he was named Todosai by the 15th Urasenke Grand Tea Master, Hounsai. After receiving this honor, he signed his wares using both names Chozaemon Ohi and Todosai. Matsunaga Jian (1875 - 1971), a famous tea master, was one of the Ninth Chozaemon’s greatest patrons. Their relationship led to the creation of many tea bowls that are now displayed in the Ohi Museum Collection. His talents and skills are mostly revealed through tea bowls with the Ohi Black Glaze. It is said that he was a very calm and humble individual throughout his entire life, which also is reflected in his works.